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Writing

February 10, 2015

That was the question asked by the agent behind the Mysterious Matters blog (run by a publishing insider) a few years ago after attending one Malice Domestic Conference and being asked—probably for the thousandth time—how to get published, deciding that a better question was how to improve your writing. Toward that end, seven tips that deal more with the attitude end of things were offered up, to wit:

1. A good mystery writer thinks first and foremost about the reader's experience.2. A good mystery writer balances character and plot.3. A good mystery writer thinks about the future.4. A good mystery writer listens to and synthesizes the advice of agents, editors, and readers5. A good mystery writer takes him/herself seriously, but not too seriously.6. A good mystery writer pushes and challenges him/herself.7. A good mystery writer understands the competitive landscape

The annotations provided on the blog flesh out the skeletal list with meaty tidbits, which you can read more about here, and are still as true today in the new publishing landscape as they were then.

On the more creative end of things, the Guide to Literary Agents blog once listed The Top 10 Reasons agents stop reading a manuscript and/or throw it across the room (this time in reverse order):

10. Overdone description that doesn’t move the story forward9. Spoon-feeding the reader what the character is thinking8. Having the characters address each other repeatedly by name, as in, "John, let’s go!"7. Introducing a character with first and last name, as in, “John Smith entered the room.”6. Beginning a story with dialogue5. Opening with a cliché4. Yanking the reader out of the action with backstory3. Not giving the reader a sense of place or where the story is going2. Characters are MIA until bottom of the second page1. Telling instead of showing

Do you agree with the lists above? I think the reasons people stop reading a manuscript sometimes differ quite a bit from agents and editors to readers, so your mileage may vary.

January 21, 2014

In keeping with the underlying theme of this blog, "Reference," I like to occasionally give a tip of the hat to resources or authors' experiences with reference and research when writing their novels. The various approaches are as varied as the authors and the storylines themselves, but there are some similarities that often connect them all. Here are some recent takes on how it's done:

Bestselling author Peter James has chatted on several occasions about his research experiences. His entry into the police procedural world was a bit rough in the beginning, coinciding as it did with a burglary—of his own home. That led to a long personal and career partnership with several Brighton detectives and James's realization that if you "get their world right, you might have a fan for life. Get it wrong and you’ll be in the trash can." And in another interview, he noted that "I never write about a place I haven’t been to."

Jane Isaac is another fan of talking with members of law enforcement about their real-life experiences. She adds, "Often such information provides background material which never appears in the novel, or only converts to a couple of lines...But the details we learn provide more depth to our work, allowing us to describe scenes and people from an informed viewpoint...Ever read a book when you’ve questioned an event, a character, a place because it isn’t quite right? Failing to do your research will show."

Sue Monk Kidd is known for her fiction that sometimes has historical elements, and as you might imagine, there's quite a bit of research involved in getting details right when dealing with plots set in the past. In a Q&A with Shelf Awareness, she talked about researching her first full-fledged historical novel The Invention of Wings, which went on for six months before she started writing. Even then, the research continued for the three years it took her to finish the book, as she looked up topics such as the kind of mourning dress widows wore in 1819 or what the emancipation laws in South Carolina were at that time.

Allen Appel looked at the flip side of researching thrillers on his blog The Thriller Guy. He mentioned a quotation by author Michael Chabon in The Wall Street Journal that points out the pitfalls of researching novels, "Research is incredibly pleasurable and seductive and you have to be on your guard against it. It's very easy to use it as an excuse not to write....The Internet is there to say 'just one more link, just one more link.'" But not doing your research ahead of time can also cause problems. Bestselling author John Grisham was 100 pages into his legal thriller, The Associate, set at the Princeton Law School, when he found out that Princeton doesn't have a law school."

And, as Appel points out in his blog post, even James Michener realized sometimes research can only get you so far, and as Michener explained, "The greatest novels are written without any recourse to research other than that writer's solitary inspection of the human experience. Flaubert, Dostoevsky, Jane Austen, Turgenev, and Henry James exemplify this truth...."

I'm always interested in hearing about other author's experiences with research—their techniques, philosophies, the good, the bad, and the ugly. What works for you? What doesn't? What words of advice would you give to newbie authors?

July 23, 2013

That was the question put to a panel at the recent 2013 ThrillerFest. Moderator
Barry Lancet and panelist-authors Daryl Gerber (aka Avery Ames), Ethan Cross, Patrick Lee, Dan Mayland, Chris Pavone, Maggie Sefton and Carol Shenol have published a combined 31 books and have 51 years of collective writing experience. This snippet has the panelists discussing ways they try to create suspense, techniques that are basic but important to keep in mind.

Harry Bingham, of the U.K. based Writer's Workshop, tells you "Why Most of What You’ve Read About Characterization is Untrue."

Writing a police procedural? Author and former cop Lee Lofland gives you tips on how to approach officers to help with questions about your work-in-progress.

Carol Topp, certified public accountant and author of an upcoming book, Business Tips and Taxes for Writers, has a two-part article (here and here) on what writers need to know about taxes.

April Hamilton, author of The Indie Author Guide: Publishing Strategies Anyone Can Use, lists 6 dialogue traps you should avoid like the plague (hint: think clich﻿é).

Writer/blogger Laurie Pawlik-Kienlen wants to help you overcome rejection and discouragement, and her 5 Tips should help.

ON PUBLISHING

It's the Wild West in publishing right now, making it difficult for everyone, including authors, to know how best to proceed with their careers. Making things even harder is a new trend among agents to set themselves up as publishers, a controversy author Courtney Milan tried to address on her blog. David Gaughran added to that his own Roadmap for Writers.

After reading those postings, you may think things couldn't get worse, but this cautionary tale of a scam artist who targeted one writer shows otherwise.

Editor Alan Rinzler explains the "new author platform" vs. the tired old model and what you need to know to succeed. Author and neuroscience graduate student Livia Blackburne adds that many writers haven't created an effective platform, but rather a never-ending writing conference.

You may have had it hammered into your thoughts that if you're an author, you need to be involved with social media. But Rachel Kovacs warns you about 10 ways to kill your writing career using social media.

Unless you're James Patterson or someone who sells millions of books, you're going to have to learn about self-promotion. Former literary agent Nathan Bransford explains why it "sucks," but that you have to suck up and do it anyway.

July 14, 2011

Here are some tips on writing, publishing and marketing collected from around the Web, that may be helpful to mystery writers wanting insights from the pros:

ON WRITING

The authors of the new nonfiction title How to Write a Dick: A Guide to Writing Fictional Sleuths from a Couple of Real-Life Sleuths asked a group of real-life private eyes what misconceptions they'd like to correct in representations of PIs in novels, movies and TV. Of course, in the UK, it's apparently quite a different story these days.

Michelle Clark, a real-life death scene investigator, offers some tips on why TV also gets that part of crime solving wrong, in a two-part posting here and here.

Iowa Writers' Workshop alumnus Anthony Marra explains that sometimes surrender should triumph over perseverance in novels that never seem to get out of the revision phase, even though he doesn't necessarily advise everyone to get up on their book.

Sharon Wildwind has some tips on how write while at the same time postponing writing. It isn't as confusing as it sounds, and it may help you through those hectic-life moments.

Novelist Karen Essex advises you on what to do what a pesky character you're writing "won't cooperate."

Now that you've finished your book, maybe even gotten an agent, it's time to think about publicity. The Writer Beware blog explains why you should hire a competent PR service. Other things you can do? Five MUST-DO Book Publicity Tips, courtesty of Kathleen Bolton.

You're eager to make a book trailer, since they seem to be so trendy these days. Author Lee Goldberg says, "don't bother." But if you're still determined to create one, agent Chuck Sambuchino has "5 Tips for Making a Really Cool YouTube Video to Promote Your Book."

And what about that book tour? Author Michelle Gagnon offers her sage words of wisdom from experience, with a caveat: you'll need to start six months before your book's release date.

If you've written the world's best novel but have a crappy ending, it might "leave a bad taste in the reader’s mouth and will ensure they don’t want to read your next book," says author Joanna Penn. One tip: "Link the story to a larger theme to end on a high note."

Suspense/Thriller author Bob Mayer explains why and how conflict is the fuel of your novel. Tension is sort of the "twin" to conflict (sometimes they're the same,
sometimes they're not), and one of the other most important elements to a
story. Nancy Curteman offers up nine ways to create tension in a mystery novel.

Literary agent Nathan Bransford has a great succinct overview of How to Write a Novel, starting with the main plot arc and working down to style and voice and the climax, with links under each section for related info.

ON PUBLISHING

Many more folks are choosing self-publication these days, but whether you go that route or with an indie press or one of the big five and their subsidiaries, there are pros and cons for each publishing option.

Which media outlets sell books? Patrick Brown surveyed Goodreads to see how well it stacked up against Amazon, NPR, The Daily Show and others.

J.A. Konrath has been a vocal critic of the "old school" publishing industry and a cheerleader for the digital revolution. Here's his take on the changing face of publishing.

What do you do when an agent asks for an exclusive (the privilege of reading a manuscript before any other literary agent is allowed to see it)? Writer's Relief has some advice.

One overlooked area in book promotion is "niche marketing," a way of tying in your book's themes, characters or setting to specialty groups and events.

Even in this day and age, many people think all published authors are wealthy. (Probably the same 20% of Americans who still think the Earth is the physical center of the universe). But J.B. Stanley, author of 13 published books, has a breakdown of her sales and marketing numbers that should disabuse anyone of the "rich author" notion. Unless you're one of these.

New York literary agent Noah Lukeman is giving away a free e-book compiled from all the "Ask a Literary Agent" questions and answers exchanged during the first year of his blog. You can also read the first 20 pages of his latest book, How to Land (and Keep) a Literary Agent.

Rachelle Gardner also has a compilation of the questions she's received lately about what to ask a literary agent when she comes calling offering representation.

ON MARKETING

Debut novelist Matt Stewart talks about "first novel karma," or, the lessons he learned about all the things he was doing wrong.

July 28, 2010

Every other week or so, I collect bits of helpful advice culled from the blogosphere about the process of writing, publishing and marketing. So, without further ado, here's the latest batch.

ON WRITING

From the Writer Beware blog (sponsored by the Science Fiction and Fantasy Writers of America and Mystery Writers of America) comes some thoughts on self-editing, or as E.B. White allegedly said, "All good writing is rewriting."

Crime fiction author and blogger Martin Edwards talks about something near and dear to my own heart, and I suspect, the hearts of writers everywhere, namely—time management.

Editor Erin Healy says you should always keep one thought in mind: Who is your reader? She notes that a successful story is one that communicates author vision in such a way it satisfies the reader's desire.

How many times have you been told to get rid of the adverbs and most of the adjectives in your writing? Here's one defense of modifiers.

Almost all writers hate self-promotion, but it's a necessary evil if you want to succeed as a published author. Bestselling author Bob Mayer helps you sort through the issues and understand why self-promotion is so important.

July 15, 2010

Freshly back from a rare mini-vacation, I felt a few writing tips would be helpful to ease the transition to writing, blogging, life, the universe and everything:

ON WRITING

Agent Nathan Bransford, like many literary agents, has probably seen it all, both good and bad. He asks the question, "Why is it So Hard to Tell if Our Writing is Good?" following on an earlier posting about getting a case of the "Am I Crazies?"

Book editor/doctor Joyce Magnin tells writers how to see the forest AND the trees after spending so much time on a manuscript that you lose objectivity.

July 01, 2010

Here are a few of the latest tidbits culled from the blogosphere that may be helpful to mystery writers:

ON WRITING

Literary agent Jane Dystel has suggestions about "What to Title Your Book." But is it really that important? As Dystel points out, "If the title doesn’t work, the book might not sell."

Although there are a wealth of books out there on "how to write," authors Howard Mittelmark and Sandra Newman have taken their 30 years
combined experience in teaching, editing, writing and reviewing fiction to create a book on How to Write a Novel: 200 Classic Mistakes and How to Avoid Them. And they have a book video to prove it.

Best-selling author Marcus Sakey (The Blade Itself) offers up his
"Secrets
to Getting Published," which is also the title of a workshop he
frequently teaches. His advice is both incredibly straightforward and
uncomplicated—but there's a
catch. (Hint: how's your book coming?)

So you've gotten an agent who's shopped your book around. Hooray! But what happens when the book is unsold to a publisher?

The debate on eBooks and how they will affect (or alternatively ruin or enrich) publishing rages on. Ed Gorman recently featured two rather depressing takes from author Dave Zeltserman and Laura Miller who writes for Salon. Why did I suddenly have a craving for a Slush Puppy?